Creative Skillset Employment Census of the Creative Media Industries

Transcription

1 0 Creative Skillset Employment Census of the Creative Media Industries

2 Foreword Professor Mike Campbell OBE Chair, Creative Skillset Research and Evaluation Committee I am pleased to have the opportunity to introduce you to the eighth Creative Skillset Employment Census of the creative media industries, which I hope you will find an interesting, useful and valuable resource. Taken together with previous censuses, it provides insight into the changing composition of the industries employment patterns and geography over time. It includes up-to-date and detailed estimates of the size and shape of the creative media industries workforce as a whole, as well as covering separately: television, film, interactive media, radio, facilities, animation, corporate production, computer games and VFX. It also considers the representation of women, Black, Asian and Minority Ethnic groups (BAME) and people with disabilities, enabling consideration of the changing representation of diverse groups across the industries. It should be useful not only as a resource and depository of information, but also to businesses, those currently working in the industries, as well as those aspiring to become part of it. It provides a basis too, for companies to benchmark their own workforce against that of the industries as a whole. It can help target skills investments and identify the character of specific needs. It will be helpful to human resources staff, those involved in recruitment and bodies representing the interests of women, BAME groups and those with a disability, both within and beyond the industries. The Census forms part of a wider, innovative programme of intelligence, research and evaluation on, and for, the industries being undertaken by Creative Skillset. Further details are available on the website Creative Skillset would like to thank the hundreds of employers who contributed to the Census; the UK Commission for Employment and Skills for co-investing in this important work through the Employer Investment Fund, and the following contributors: Acknowledgements Dr. David Brooks Ashbrook Research & Consultancy, Director Professor Mike Campbell OBE Independent Consultant Milo Connolly Qualasys Research Business and Intelligence, Director Neil Heyer Qualasys Research Business and Intelligence, Director Neil Flintham Independent Consultant Table of Contents Executive summary Introduction 6 The size and shape of the creative media industries 9 Television Film 8 Interactive media Radio 9 Facilities Animation 0 Corporate production Computer games 60 VFX 6 Appendix: Census form 68

3 Executive Summary Executive summary Distribution, methodology and response Key trends Representation of women Black, Asian and Minority Ethnic Representation A Census form was distributed to every company for which records were available in the creative media sectors covered, for completion on the Census date of July 0. The sectors covered include: animation commercials computer games corporate production facilities interactive media libraries and archives radio television VFX film apart from the freelance crew employed by film production companies. The Census excludes freelancers who were not working on Census Day. The 0 Census achieved 8 responses including major employers and small companies. The proportion of responses completed online increased from 7% in 009 to 7% of the overall response in 0. Caution should be exercised reading figures cut by three variables e.g. sector/gender/occupational group. Figures at this level are indicative only. How the Census fits within Creative Skillset s Research and Evaluation Strategy The vision underpinning Creative Skillset s Research and Evaluation Strategy is to support the growth and wealth creation of the Creative Industries, by providing outstanding labour market intelligence that enables UK employers to understand the size and shape of the sectors, skills needs within them, as well as plan for, invest in, and measure the impact of skills and talent interventions. Total employment in the creative media industries has grown by more than,000, representing a % increase in employment across the industries. The increase of employment compares to a % increase across the rest of the UK economy and is mostly driven by the growth in terrestrial broadcast, interactive media, facilities, animation, games publishing and games development support. The sub-sectors which lost jobs include radio, studios and equipment hire, film production, commercial production and pop promos and computer games development. Representation of women has increased from,70 in 009 to 69,90 in 0. Women represented 6% of the total workforce in 0 compared to 7% in 009. This reverses the previous decline over the periods. Representation of Black, Asian and Minority Ethnic (BAME) people declined from 7.% of the total workforce in 006 to 6.7% in 009 and is now just.% in 0. Levels of employment have increased in, and Northern Ireland, the South East and the South West of England. The Employment Census of Creative Media Industries sits within a larger programme of research activities, such as employer and workforce panels, forecasting tools and supply side mapping (see Primary research such as the Census provides invaluable information to employers and other stakeholders across the Creative Media Industries. The results and analysis presented also benefits from drawing on a range of other sources and insights. The Census does not include publishing, photo imaging, advertising and freelancers working in film production. The overall representation of women has increased since 009. Television, interactive media, animation, commercials and pop promos, corporate production and computer games have seen the biggest increase. Other sub-sectors where representation has increased are film distribution, studios and equipment hire, post production and independent radio production. As in previous years, representation of women is highest in certain occupations: in particular make-up and hairdressing (8%) and costume and wardrobe (7%). Women also make up over half (6%) of the legal workforce, distribution, sales and marketing (%), business management (%) and broadcast management (%) but less than half in every other occupational group. There is considerable variation across the country, largely reflecting the concentration of sub-sectors and occupations in each area. For example,, the North West and, which all accommodate substantial segments of the television and radio broadcasting sectors, contain the highest proportions of women. Representation is lowest in South East and which contain concentrations of interactive and facilities companies as well as the with its concentration of computer games companies. Representation of disabled people Overall, the proportion of the workforce described by their employers as disabled has remained the same since 006, at.0%. This is significantly lower than the proportion reporting themselves as disabled in Creative Skillset s 00 Creative Media Workforce Survey, in which.6% of the workforce reported they have a disability. Representation of people from a BAME background differs considerably between sectors, being highest in commercials production, independent radio, cable and satellite and terrestrial broadcast and lowest in special physical effects, VFX, corporate production and studios and equipment hire. There are some major variations in BAME representation by occupational group. The highest proportion being employed in legal, content development, technical development and libraries and archives and lowest in servicing, manufacture, transport, audio/sound/music, lighting, animators and engineering and transmission. There is considerable variation in representation across the UK. and the have the highest representation of BAME workers, and North East England and the lowest. Current employment and freelancing Total employment in the industries as covered in the Census, is estimated at 9,00 - an increase from 88,0 in 009. % of the workforce is freelance, which is the same as 009. Freelancing is most prevalent in those areas most closely involved in the production process.

4 6 Introduction 7 Introduction Background Scope Method Response This report presents the findings of the eighth Creative Skillset Employment Census of the creative media industries. Since 000, improvements have been made in the design, distribution and methodology, with new sectors targeted, separate forms developed for some sectors to ease completion and employers able to complete the form online. As a result, 8 major employers and small companies participated in the 0 Census. The aim of the Census is to provide reliable estimates on the size and shape of employment in the creative media industries. By doing so, Creative Skillset can identify changes in the workforce, monitor representation of diverse groups and target investment in skills development on behalf of the industries in order to ensure their needs are met. To achieve this, companies were asked to indicate their number of employees and freelancers in specific occupational groups and job roles on Wednesday July 0. For each employee and freelancer they were asked to indicate how many were women, from a Black, Asian or Minority Ethnic (BAME) background and disabled. A copy of the main Census form is appended to this report. In 009, Creative Skillset redeveloped a full occupational map of the industries it represents, in order to accurately classify industry sectors and occupations. While some changes have been made to both the sector and occupational classification systems used, there remains a high level of correspondence and similarity between previous and current systems enabling trend analysis in most cases. The creative media industries in this report refers to film, television, radio, animation, facilities, interactive media, computer games, VFX, commercials production and corporate production. It does not include: Film production freelancers. While the Census covers permanent roles employed within film production companies (classified as film production), freelance crew are covered within a separate cycle of research conducted jointly with the BFI. The snapshot methodology of recording employment on one day does not provide a reliable estimate of the total workforce involved in filmmaking as production levels fluctuate over time. The Census methodology is less problematic for other film sectors such as film distribution and cinema exhibition which are less freelance dominated and more stable in employment terms. Performers, who work across most of the sectors, nearly all work on a peripatetic basis which, in common with film production crews, does not lend itself to inclusion within the Census. They are therefore included within other elements of Creative Skillset s research programme. Photo imaging and publishing is relatively well-served by the Office for National Statistics Labour Force Survey. The data is reliable and accurate with the exception that some freelancers will be excluded. The extent of this exclusion has been measured within Creative Skillset s Workforce Survey. Census forms were distributed to companies throughout the UK for completion on July or shortly after. A central database of around 0,000 companies was set up using a number of available sources including trade association membership lists, screen agency records and other databases. In addition, the Census was publicised in trade journals and national press in order to reach companies outside the membership of industry organisations. Each company was given three weeks to complete and return the questionnaire. Companies that had not responded by Friday 7 July were contacted by letter, and/or telephone (depending on sector and availability of contact information). During the telephone follow-up stage the aim was to urge companies to complete the full form online and, for companies of up to ten people, to complete the form while on the phone. To increase response rates and account for the August holiday season the Census deadline was extended to 0 September 0. Precise response rates are difficult to calculate due to the lack of reliable and up-to-date information on the number of companies in some sectors. Table (see p.8) shows the number of responses per sector. The proportion of responses completed online has increased from 7% in 009 to 7% in 0. The final employment estimates for the industries were calculated by applying a weighting methodology based on using data on the population of employers in each sector to gross up the responses per sector. Sector parity and other parameters were taken into consideration, to allow for as reliable estimates as possible. Secondary/desk research was also conducted to triangulate and health check the validity of the weighting factors applied. Where responses were too low to support reliable estimates, the relevant sub-sectors have been removed. This included eight responses from TV community, distribution, interactive and broadcast technology; three responses from facilities outside broadcast, systems integration, processing labs and transmission and four responses from cinema exhibition that did not match the sub-sector. This gave a total of deleted responses that are not shown in Table. No responses were received for interactive media mobile content.

5 8 Introduction 9 The size and shape of the creative media industries Response (continued) Response per sub/sector Table TELEVISION RADIO FACILITIES FILM INTERACTIVE MEDIA COMPUTER GAMES Paper Online TOTAL Terrestrial 0 Cable and Satellite 9 Independent Production 9 Broadcast 7 8 Independent Production 8 7 Community/Voluntary 6 Post Production 7 Studios and Equipment Hire 6 Special Physical Effects 7 Manufacture of AV equipment 0 Other services for Film and TV 8 6 Production 7 Distribution 8 Cinema Exhibition 0 ANIMATION 6 VFX 8 0 COMMERCIALS PRODUCTION and POP PROMOS 6 9 CORPORATE PRODUCTION Online Content 6 Systems Design/Software 8 Social Media/Web Other Interactive Media 9 Games Development Games Publishing Games Support 0 ARCHIVES and LIBRARIES 9 OTHER 9 6 TOTAL Analysis and presentation of the Census results This report has been designed to provide sector-led insights. It provides an overview of the creative media industries as a whole and then continues with information on the size and shape of each industry in turn. The size of the workforce Table shows overall employment by sector in 009 and 0, and the percentage change over the three year period. The total employment between the two surveys has increased by % from 88,0 to 9,00. Employment in the industries Table TELEVISION RADIO FACILITIES FILM INTERACTIVE MEDIA COMPUTER GAMES Change % Terrestrial Broadcast,70 6,60 +6% Cable and Satellite,700,00 -% Independent Production,700,60 0% Broadcast 9,900,00 -% Independent Production, % Community/Voluntary n/a,00 Post Production 7,0 8,900 +9% Studios and Equipment Hire,900,00-0% Outside Broadcast 600 n/a Special Physical Effects % Manufacture of AV equipment,900,000 +% Processing labs 00 n/a However, there has been considerable variation in the pattern of jobs growth and decline over the period. The sub-sectors experiencing decline include radio, VFX, online content, film production and computer games development. Post production, special physical effects, games publishing and games development support have increased since 009. Other services for Film and TV 8,600 8,90 +% Production (excluding freelancers),00,0 -% Distribution,00,00 0% Cinema Exhibition 7,60 7,700 0% ANIMATION,00,600 +7% VFX 6,900,00 -% COMMERCIALS PRODUCTION and POP PROMOS,00,800-7% CORPORATE PRODUCTION,90,00 +% Online Content 7,0,00 -% Systems Design/Software n/a 6,80 Social Media/Web.0 n/a 8,70 Mobile Content 800 n/a Offline Media,70 n/a Other Interactive Media,00,0 +% Games Development,00,700 -% Games Publishing,0,0 +% Games Support % ARCHIVES and LIBRARIES 0 0 0% OTHER n/a 70 TOTAL 88,0 9,00 +% UK economy (excluding Media) *,6,0,0, % *Source: Office for National Statistics Labour Force Survey, Oct-Dec 009 and Oct-Dec 0 NB: Figures are rounded up or down to the nearest 0

6 0 The size and shape of the creative media industries The size and shape of the creative media industries Occupations: Employees and freelancers Response per sub/sector Table Employees Freelance Total workforce Strategic Management,90,600 7,0 Creative Development,900,00,0 Production,800 0,00,900 Legal,00 0,60 Broadcast Management,0 700,80 Engineering and Transmission,00 00,700 Editorial, Journalism and Sport 9,0,800,900 Content Development,0 00,00 Art and Design,0,00 9,70 Animators,70,00 6,00 Costume/Wardrobe Make-up and Hairdressing ,00 Camera/Photography,800,0,0 Lighting 600,00,800 Audio/Sound/Music,000,00,00 Transport Studio Operations Technical Development 6,0 60 7,00 Editing,0,80 7,00 Laboratories/Processing Manufacture,900 00,000 Servicing,00 0,0 Libraries and Archives,0 00,00 Distribution, Sales and Marketing,90 00,0 Business Management 6,600,000 8,600 Retail and Exhibition 7,70 0 7,70 TOTAL,0 6,60 9,00 NB: Figures are rounded up or down to the nearest 0. Lighting Make-Up and Hair Dressing Camera/Photography Costume/Wardrobe Creative Development Editing Audio/Sound/Music Transport Production Art and Design Editorial, Journalism and Sport Animators Strategic Management Broadcast Management Studio Operations Legal Content Development Technical Development Library and Archives Business Management Engineering and Transmission Manufacture Distribution, Sales and Marketing Servicing Laboratories/Processing Retail and Exhibition GRAND TOTAL Proportion of workforce who are freelance Proportion in each occupational of workforce group who are (%) freelance Fig. in each occupational group (%) (fig.) The proportion of freelancers in each occupational group is reported in Figure. Overall, the proportion of freelancers has remained the same since 009 at %. Freelancing is most prevalent in areas closely involved in the production process such as camera/photography (66%), lighting (8%), make-up and hairdressing (70%), costume/ wardrobe (67%), content development (%) and editing (%). It is lowest in areas related to retail and exhibition, management, marketing, servicing and libraries and archives. 8 Table shows total employment broken down by employees and freelancers within each occupational group. The single largest occupational group is business management, encompassing a wide range of generic business support areas such as finance, HR, press and PR, which employs 8,600 people. The next largest groups are involved in content creation production (,900) and art and design (9,70), both have risen marginally since the 009 Census. Strategic management, which is 7,0 - up from,000 in 009 and retail and exhibition, which saw a slight increase from 7,700 in 009 to 7,70, are the next biggest groups, both employing a combination of generic and industryspecific skills.

7 The size and shape of the creative media industries The size and shape of the creative media industries Occupations (continued) Proportion of the workforce who are freelance in each sector (%) Fig. Work base: The location of the workforce Terrestrial Broadcast Cable and Satellite Independent Production (TV) Broadcast Radio Independent Production Radio Community/Voluntary Radio Post Production Studios & Equipment Hire Special Physical Effects Manufacture of AV Equipment Other Services for Film & TV Film Distribution Cinema Exhibition Animation Overall representation of freelancers (%) Figure shows the variation in freelance usage by sector, and how this has changed since 006. Freelancing is highest in sectors involved in production or content creation. In 009 the number of freelancers was,700 compared to 6,60 in 0. The figures should, however, be treated with caution as, although Census Day is chosen with care following industry consultation, it shows only the proportion of freelancers who are at work on the day. Thus, if the levels of production are relatively low, the freelancer proportion may look low, and possibly disguise the underlying situation. The geographical distribution of the workforce is illustrated in Figure a. continues to be the work base for over four in ten of the workforce, followed by large concentrations of the industries in the South East, the South West and the nations. The workforce in the remaining English regions has mostly decreased since 009. Figure b compares 0 with 009. North West of England 0 7 North Work base of the creative media industries(%) Fig.a Northern Ireland VFX Commercials Production Corporate Production Interactive Media Computer Games Archives & Libraries Northern Ireland South East of England 9 7 South West of England Work base of the creative media industries (%) Fig.b 9 North East of England Yorkshire & the Humber 7 North West of England TOTAL NB: Film production is excluded as only employees in the sector were counted.

8 The size and shape of the creative media industries The size and shape of the creative media industries Women in the creative media industries Representation of women in the industry in each occupational group (%) Fig. Overall representation of women (6%) Terrestrial Broadcast Cable and Satellite Independent Production (TV) Broadcast Radio Independent Production Radio Community/Voluntary Radio Post Production Studios & Equipment Hire Special Physical Effects Manufacture of AV Equipment Other Services for Film & TV Film Production Film Distribution Cinema Exhibition Animation VFX Commercials Production Corporate Production Interactive Media Computer Games Representation of women in each sector (%) Fig. Overall representation of women (6%) The representation of women in each sub-sector and how this has changed since 006 is shown in Figure. The number of women has increased from,70 in 009 to 69,90 in 0, representing 6% of the total workforce in 0 compared to 7% in 009. This is a return towards the 006 level after an acute decline between 006 and 009 (the first since the Census was first introduced in 000). This increase since 009 occurred across most sub-sectors. The proportion of women employed is especially high in cinema exhibition, film production and distribution, independent and broadcast radio production, independent TV production and terrestrial broadcasting. Strategic Management Creative Development Production Legal Broadcast Management Engineering and Transmission Editorial, Journalism and Sport Content Development Art and Design Animators Costume/Wardrobe Make-Up and Hairdressing Camera/Photography Lighting Audio/Sound/Music Transport Studio Operations Technical Development Editing Laboratories/Processing Manufacture Servicing Libraries and Archives Distribution, Sales and Marketing Figure shows the proportion of women in each occupational group*. A comparison with 009 results shows an overall increase in the representation of women as well as an increase in the proportion of women in certain occupational groups. Representation is highest in make-up and hairdressing (8%) and costume and wardrobe (7%). Women also make up over half of the legal workforce (6%), business management (%), distribution, sales and marketing (%) and broadcast management (%). *Excludes cinema exhibition Archives & Libraries 6 8 Business Management TOTAL GRAND TOTAL

9 6 The size and shape of the creative media industries The size and shape of the creative media industries 7 Women in the creative media industries (continued) North West of England North Combined West South North East Central Northern Ireland Representation of women in the industry nationally and regionally (%) Fig The representation of women in the workforce across the nations and regions of the UK is shown in Figure 6. There is considerable variation, largely reflecting the concentration of sectors in each area and their levels of employment of women. For example, and the North West which accommodate substantial segments of the television and radio broadcasting sectors, contain the highest proportions of women. Representation of women is lowest in the South East and which contain high concentrations of interactive media and facilities companies as well as the with its concentration of computer games companies. 0 0 Black, Asian and Minority Ethnic groups (BAME) in the creative media industries. BAME representation has seen a decline from,0 in 009 to 0,00 in 0. BAME people represented 7.% of the total workforce in 006, compared to 6.7% in 009 and.% in 0 (Figure 7). The representation of BAME varies by sector, being over 8% in 0 in broadcast radio, independent radio production, terrestrial broadcast, cable and satellite and commercials production. Terrestrial Broadcast Cable and Satellite Independent Production (TV) Broadcast Radio Independent Production Radio Community/Voluntary Radio Post Production Studios & Equipment Hire Special Physical Effects Manufacture of AV Equipment Other Services for Film & TV Film Production Film Distribution Animation VFX Commercials Production Corporate Production Interactive Media Computer Games Archives & Libraries TOTAL BAME representation in each sector (%) Fig Overall representation of BAME (.%) Cinema Exhibition

10 8 The size and shape of the creative media industries The size and shape of the creative media industries 9 BAME in the creative media industries (continued) BAME representation in the industries in each occupational group (%) Fig.8 Overall representation of BAME (.%) BAME representation by nation and region (%) Fig.9 BAME representation varies by occupational group*, as shown in Figure 8. The highest proportion (over 8%) of BAME people are employed in legal, libraries and archives and editorial, journalism and sport. Strategic Management Creative Development Production Legal Broadcast Management Engineering and Transmission Editorial, Journalism and Sport Content Development Art and Design Animators Costume/Wardrobe Make-Up and Hairdressing Camera/Photography Lighting Audio/Sound/Music Transport Figure 9 shows the proportion of BAME people in each nation and region of the UK.* There is considerable variation, to some extent reflecting the composition of the local labour market in each area as well as the subsectors and occupations represented. At 8.9%, has the highest representation, however, given the high representation in the wider economy (8.8%), it is in fact the least representative region. is the only nation or region in which representation of BAME people is higher in the creative media industries than the wider economy. North North West of England Northern Ireland TOTAL Studio Operations Technical Development Editing *Source: Office for National Statistics Labour Force Survey, Oct-Dec 0 *Excludes cinema exhibition UK working population* Creative Media Industries Laboratories/Processing Manufacture 0. Servicing. 0.7 Libraries and Archives Distribution, Sales and Marketing 6.9 Business Management Retail and Exhibition.. *Excludes cinema exhibition GRAND TOTAL

11 0 The size and shape of the creative media industries The size and shape of the creative media industries Disability in the creative media industries Representation of disabled people in each sector (%) Fig.0 Diversity in the creative media industries Fig. Overall representation of disabled workforce (%) Women BAME Disabled The Census asked companies to indicate how many disabled people were working in their company on Census Day. Overall, % of the workforce is reported to be disabled, as shown in Figure 0 the same proportion as in 006 and 009. The proportion is highest in the community/ voluntary radio and cable and satellite sub-sectors. Terrestrial Broadcast Cable and Satellite Independent Production (TV) Broadcast Radio Independent Production Radio Community/Voluntary Radio Post Production Studios & Equipment Hire Other Services for Film &TV % 8% 8% 6% 7% 7.% 7% 7.% 6.7%.% %.% % % % Film Production Cinema Exhibition Animation This is lower than those who report themselves to be disabled as defined by the Disability Discrimination Act in self-reporting surveys. For example, in Creative Skillset s 00 Creative Media Workforce Survey,.6% of respondents identified themselves as disabled. VFX Commercials Production Corporate Production Interactive Media Computer Games Archives & Libraries TOTAL Figure summarises the reported diversity of the workforce within the creative media industries since 00. We now turn from this overview of the workforce of the creative media industries to a more detailed account of each of the industries. In each case we cover, as far as the data will allow, the size of the workforce and recent trends in it; the extent and trends in freelancers; the location of the workforce and changes within it; the representation of women by occupation and geography; the representation of BAME groups by role and geography and similarly for people with a disability. Please note that where diversity measures and/or regions or nations are not included, it is due to no record or very low frequencies

12 Television Television Workforce size Occupational groups Figure shows the size of the workforce in television since 00. The total workforce has increased by % since 00, although it suffered a major decline from 006 to 009 during the recession. Since then, the combined TV workforce, which includes terrestrial, independent production and cable and satellite, has shown an overall % increase. This is mostly down to terrestrial broadcast. TV total workforce Fig.,00 0,0 0,600,700 Figure sets out the pattern of employment across the different occupational groups in television. The majority of the workforce works in production (6%), business management (%), editorial, journalism and sport (%), strategic management (7%), art and design (%), editing (%), camera/photography (%), broadcast management (%) and distribution sales and marketing (%). Business Management Distribution, Sales and Marketing Editing Audio/ Sound/ Music Lighting Camera/Photography Art and Design Editorial, Journalism and Sport 7 Major occupational groups in TV(%) Fig. Strategic Management Creative Development 6 Legal Production Broadcast Management Engineering and Transmission 0 North East 6 of England Northern Ireland Work base of the TV industry (%) Fig. North West of England 7 The majority of the TV workforce is based in (7%), followed by (%), North West of England (0%) and (6%) (Figure ). Within, 66% is concentrated in West, 0% in Central, % in East and % in South. Freelance workforce Almost four in ten of those working in TV are freelancers, increasing from 8% in 009. This compares to % in the creative media industries as a whole. TV Freelancers,800 9,000,900 0,000 % of Total Workforce % % 8% 9% Freelance workforce Table Occupational groups like legal, broadcast management, engineering and transmission, editorial journalism and sport, studio operations, technical development, libraries, distribution sales and marketing as well as business management do not rely greatly on freelancers. In contrast, costume/wardrobe (7%), lighting (7%), make-up and hairdressing (7%), camera/photography (7%), audio/sound/music (66%), creative development (66%), transport (6%), editing (6%) and production (6%) are freelance-orientated occupational groups in TV.

13 Television Television Freelance workforce (continued) Proportion of TV freelancers per nation/region (%) Fig. Women in TV,700,00 0,0,60 % of total workforce % % % % North West of England North Northern Ireland Figure shows that and the South East employ more freelancers than the overall average of 9% in TV. In contrast, regions like the East Midlands, the North East and and Northern Ireland, employ fewer freelancers as part of their total workforce. 6 Women workforce Table Women in TV make up % of the total workforce compared to 6% within the creative media industries. This has remained the same since 00 apart from a dip in 009. Women in TV are represented at about the % average in all occupational groups except for studio operations (6%), transport (%), audio/sound/music (0%), editing (9%), technical development (6%), lighting (6%), camera/photography (%), engineering and transmission (%), animators (%), and servicing (%). Women represent 66% of legal roles, 8% of strategic management roles and creative development (each), 6% of broadcast management and 6% of production. Geographical representation of women in TV (%) Fig.7 Diversity Figure 6 shows the percentage of women, BAME and disabled workforce in television. Women BAME Disabled Diversity in TV Fig.6 % % % % 6.8% 9.9% 9% 7.%.6% %.% % North West of England North Northern Ireland As shown in Figure 7 women are represented above the creative media industries average throughout all nations and regions except for the where the proportion of women is less than the overall TV average. The highest representation of women is in the and the North West.

14 6 Television Television 7 Diversity (continued) BAME in TV,00,00,00,800 % of total workforce 6.8% 9.9% 9% 7.% Disability ,000 % of total workforce.6% %.% % BAME workforce Table 6 Disability workforce Table 7 Workforce from a Black, Asian or Ethnic Minority background represent 7.% of the total workforce in television in 0 compared to.% across the creative media industries. BAME workers are represented at a 7.% average in all occupational groups except for strategic management (%), make-up and hairdressing (%), audio/sound/music (%), editing (%), creative development (%), camera/photography (%), servicing (%), lighting (%). BAME people represent % of business development, % of legal, % of libraries, % of distribution, sales and marketing, 0% of engineering and transmission and 0% of editorial, journalism and sport. Two percent of the workforce in television was identified as disabled. This is the highest since 00 and compares to % for the creative media industries as a whole. Representation of the disabled workforce in TV is around the % average in almost all occupational groups except for make-up and hairdressing (%), libraries and archives (6%) and engineering and transmission (%). Geographically, the disabled workforce ranges from % to % throughout all nations and regions. BAME geographical representation in TV (%) Fig.8 North West of England North Northern Ireland BAME representation is fairly evenly spread throughout all regions except for, Northern Ireland and on the low end. A much higher than average representation of BAME people exists in the and (Figure 8).

15 8 Film 9 Film Workforce size While the Census covers permanent roles employed within film production companies, freelance crew are covered within a separate cycle of research. The nature of film production means that the snapshot methodology of recording employment on one day does not provide a truly The breakdown per sub-sector is shown in the table below. reliable estimate of the total workforce involved in filmmaking as production levels fluctuate over time. The Census methodology is less problematic for other film sectors such as film distribution and cinema exhibition which are less freelance dominated and more stable in employment terms. The majority of the workforce in film production and distribution is based in and (Figures 9 and Figure 0). For specifically, 80% of the workforce in film production is based in Central, as is 68% of film distribution. Work base of film distribution (%) Fig.0 8 Film production,00,0 Cinema exhibition 6,00 6,600 7,700 7,700 Film distribution 00,00,00,00 TOTAL 7,000 7,900 0,00 0,000 Breakdown of the workforce Table 8 NB: Totals may vary due to rounding to the nearest 0. The geographical representation of the workforce in cinema exhibition is in line with the creative media industries overall with 8% in England, % in, 0% in and % in Northern Ireland (Figure ). Northern Ireland 0 0 Work base of cinema exhibition (%) Fig. 6 Rest of England North West of England Yorkshire & the Humber North East of England Work base of film production (%) Fig Film production does not include film production freelancers which accounted for 89% of employment in the sector in 00.

16 0 Film Film Occupational groups Freelance workforce Business Management Art and Design Legal 6 Production Business Management Distribution, Sales and Marketing The major occupational roles in cinema exhibition is box office (87%), head office/ management (8%), premises operation (%), projection/ technical (%) (Figure ). 7 Major occupational groups in film production (%) Fig. Major occupational groups in film distribution (%) Fig. 8 Creative Development 7 Strategic Management Strategic Management Creative Development Head office/management Production Technical Development Servicing 8 Major occupational groups in cinema exhbition (%) Fig. Figures and demonstrate the different occupational groups in film production and distribution. Strategic management, distribution, sales and marketing, business management, creative development and production are the major occupational roles in these sub-sectors. Please note that freelancers are not included in film production. Premises Operation Projection/Technical Women BAME Disabled Freelancers represent 0% of film distribution. They are employed in legal, servicing, business management and distribution, sales and marketing. As previously explained, the Census does not include freelancers in film production given that the snapshot methodology of recording employment Diversity Diversity in film production Fig. 0% 7% %.%.9%.% on one day does not provide a reliable estimate of the total workforce involved in filmmaking as production levels fluctuate over time. No freelancers were recorded in cinema exhibition. Women BAME Disabled Figures to 7 show the proportion of women, BAME and disabled workforce in film production, distribution and 0% cinema exhibition respectively. %.9% 009 Kiosk/Box Office 87

17 Film Film Diversity (continued) Women BAME Diversity in film distribution Fig.6 0% 9% % Women BAME Disabled Diversity in cinema exhibition Fig.7 % % 9% 7.7% % % 8.% %.%.% 0.% 0.6% 0.% 0.% %.% 6% Women BAME Disabled Women BAME Disabled Women in film production represented 6% of business management workforce, 7% of production, 6% of creative development, % of strategic management and 7% of art and design. Women in distribution are represented 0% in business management (69%), 7% distribution sales and management (6%), legal (%) and strategic management (0%). Women in cinema exhibition are under the industry average in projection/technical (%), IT (7%), CEO (%), and head office/management and premises operation (% each) roles. Their representation in box office (8%), finance and accounts (6%), health and safety (0%) and corporate % PR and marketing (%) is around.% the sub-sector average of 6%. They have a higher representation in cleaning (6%),.9%.% HR (7%) and administration (80%). BAME workers in film production represent % of the 0% business management workforce 7% and 0% of the legal workforce. Strategic management, creative development and production are all %. BAME people in film distribution represent 8% of business management and % of distribution, sales and marketing. In cinema exhibition % Overall, women in film make up 6% of the total workforce compared to 6% of the creative media industries. The nations/regions with the highest representation of women in film production are (9%) and (%). In terms of film distribution, the areas with the highest representation are (6%) and (%). Employees and freelancers from a Black, Asian or Ethnic Minority background represent.% of the total workforce in 0 compared to.% of the creative media industries..9%.% % they represent 7% of IT, 7% of cleaning, 6% of finance and accounts, % of box office and admin (each), % of premises operation, corporate PR and marketing and CEO (each) and % of projection/technical and head office management (each). Geographically, BAME workers in film production are represented at 6% in, while for film distribution representation in is %. Less than one per cent (0.%) of the workforce in film was identified as disabled, compared to % of the creative media industries as a whole. In film production, this was higher (%). Only 0.% of the workforce in cinema exhibition is disabled. There were no reported disabled people in film distribution. The disabled workforce in film production is within strategic management and production (% each). For cinema exhibition, % work within cleaning and % within corporate PR and marketing.

18 Interactive Media Interactive media Workforce size Occupational groups Figure 8 shows the size of the workforce in interactive media since 00. The total workforce has increased by % since 009 although there has been a slight decrease of % since 00. The increase seems to reflect the decrease in radio and the fact that since 009 the radio sector may be turning digital. Interactive media total workforce Fig.8,700,00 8,700,0 Figure 0 demonstrates the different occupational groups within interactive media. Business management and art and design comprise % each of the workforce, followed by technical development (%), strategic management (7%) and production (9%). Technical Development Business Management Audio/ Sound/ Music Camera/Photography Animators Major occupational roles in interactive media (%) Fig.0 7 Strategic Management 9 Art and Design Creative Development Production Content Development North West of England 0 9 North 8 6 Work base of the interactive media industry (%) Fig.9 Northern Ireland 6 South East of England The majority of the workforce is based in (%), followed by the South West (8%), South East (6%), (0%) and (9%) (Figure 9). For specifically, 7% is based in Central, % in East, 9% in West and % in North. Freelance workforce The proportion of freelancers is at its lowest since 00. It is % of the total workforce compared to % of the creative media industries overall. Interactive media freelancers 7,00 6,700 7,0,0 % of total workforce 7% 7% % % Freelance workforce Table 9 Production (%), content development (%), and business management (%) are not shown to rely greatly on freelancers. In contrast, creative development (9%), animators (%) and camera/photography (7%) are freelance-orientated occupational groups. Strategic management, art and design and technical development are around the overall sector average.

19 6 Interactive Media Interactive Media 7 Freelancer geographical distribution (%) (fig.) Freelance workforce (continued) North West of England North Combined West East Central Northern Ireland Diversity Figure shows the proportion of women, BAME and disabled workforce in interactive media. Women BAME Disabled Freelancer geographical distribution (%) Fig. % 8% % 6.% Diversity in interactive media Fig. 8 The North West and employ more freelancers than the overall average of %. In contrast, regions like the North East and Central employ fewer freelancers as part of the total workforce per region/nation (Figure )..% % 0.% 0.% 6% % 9%.% Women in interactive media,700,00,900,600 % of total workforce % %.% 9% Woman workforce Table 0 Women in interactive media represent 9% of the total workforce compared to 6% of the creative media industries. North West of England North Northern Ireland They are greatly under-represented in camera/photography (6%) and technical development (9%). For strategic management (%), content development (%), art and design (%) and animators (7%) female representation is around the sector average. Women are above the sector average in the occupational groups of creative development (6%), production (6%), editorial, journalism and sport (0%) and business management (%). Geographical representation of women in interactive media (%) Fig Workforce from a Black, Asian or Ethnic Minority background represented.% of the total workforce in 0 compared to.% of the creative media industries. 7 Women are represented at around the sector average across most nations and regions, except in the South West and where the proportion of women is lower, and North West and where it is higher (Figure ). BAME in interactive media,00,00,00,00 % of total workforce 8% 6.% %.% BAME workforce Table

20 8 Interactive Media 9 Radio Diversity (continued) Workforce size BAME workers are represented between % and 9% in strategic management, production, content development and business management. BAME representation is lower than the industry average in art and design (%) and above average in animators (0%), camera/photography (%) and technical development (%). BAME representation is similar to the creative media industries average throughout all regions except for and. A higher than average representation is seen in the South East of England as well as (Figure ). North West of England BAME representation in interactive media (%) Fig Figure shows the size of the workforce in radio since 00.The total workforce has decreased by % since 00 although most of this decrease has occurred since 009. In 0, there was an increased response from community/voluntary radio which had not been captured in previous years. Radio total workforce Fig.,00,00 0,900 7,0 Less than one per cent of the interactive media workforce was identified as disabled compared to % of the creative media industries. Disability % of total workforce.% 0.% 0.% 0.% Disabled workforce Table The representation of disabled workforce in interactive media is % each for production, content development, art and design and business management. Of the workforce in % identified themselves as disabled, % in West and % in the North West of England. North North West of England Work base of the radio industry (%) Fig.6 Northern Ireland The majority of the workforce is based in (%), followed by Northern Ireland (%), (8%) and the North West of England (7%) (Figure 6). In, 77% is concentrated in Central, % in East and % in West.

21 0 Radio Radio Occupational groups Proportion of radio freelancers per region/nation (%) Fig.8 Figure 7 demonstrates the different occupational groups in radio. Most fall under editorial, journalism and sport (%), business management (8%), production (6%) and distribution, sales and marketing (%). Business Management Distribution, Sales and Marketing Audio/ Sound/ Music Strategic Management 8 Editorial, Journalism and Sport Major occupational groups in radio (%) Fig.7 Creative Development 6 8 Production Broadcast Management Engineering and Transmission North West of England North Combined West South East Central Northern Ireland Figure 8 shows that West and East employ more freelancers than the overall average of 7% in radio. In contrast, regions like the North East and Central employ fewer freelancers as part of the total workforce. 6 Freelance workforce Radio freelancers,00,700,900,90 % of total workforce % % % 7% Freelance workforce Table The total number of freelancers is at its lowest since 00 at 7% of the total workforce compared to % of the creative media industries. Occupational groups like engineering and transmission, distribution sales and marketing as well as business management do not rely greatly on freelancers. In contrast, legal (7%), editing (6%), libraries and archives (7%) and creative development (0%) are freelance-orientated occupational groups in radio. Diversity Figure 9 shows the proportion of women, BAME and disabled workforce in radio. Women BAME Disabled Diversity in radio Fig.9 9% 9% % % 7.% 6.6% 7.% 7.%.%.8%.9%.%

22 Radio Radio Diversity (continued) Women in radio represent % of the total workforce compared to 6% of the creative media industries. North West of England North Northern Ireland Women in radio 0,800 0,900 9,0 7,60 % of total workforce 9% 9% % % Women workforce Table Women are represented at about the % average in all occupational groups except for creative development (0%), strategic management (%), audio/music/sound (%), engineering and transmission (%) and art and design (%). Women represent 8% of legal roles, 6% of business management and 6% of distribution, sales and marketing. Geographical representation of women in radio (%) Fig Women are represented evenly throughout all nations and regions except for Northern Ireland where the proportion of women is lower than the overall radio average and where there is a higher than average representation of women (Figure 0). BAME in radio,600,00,00,00 % of total workforce 7.% 6.6% 7.% 7.% BAME workforce Table BAME representation is around the average throughout all regions except for, Northern Ireland and the North East. A higher than average representation of BAME people is seen in (%), East Midlands (%) and East of England (%) (Figure ). Two per cent of the workforce was identified as disabled compared to % of the creative media industries. North West of England North Northern Ireland BAME geographical representation in radio (%) Fig. Disability % of total workforce.%.8%.9%.% Disability workforce Table 6 The representation of disabled workforce in radio is around the.% average in almost all occupational groups except for studio operations (8%), broadcast management (%) and an additional % that marked other occupational groups. The representation of the disabled workforce ranges from % to % throughout all nations and regions except for (%) and the North West,, Northern Ireland and, all at % each. 0 People from a BAME background represented 7.% of the total workforce in radio in 0 compared to.% of the creative media industries. BAME workers are represented at the 7.% average in all occupational groups except for distribution, sales and marketing (%), strategic management (%), production (%), legal (%) and engineering and transmission (%). At the higher end, BAME people represent % of studio operations, % of editing and 8% of creative development.